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Comparison of Bradstreets and Amichai

 

             In Bradstreet's poem "To my dear and Loving Husband" and in Amichai's "A pity. We were such a good invention", love is expressed in two different ways. Bradstreet conveys an unconditional love for her husband, while Amichai expresses her feelings towards a lost love. Through literary devices both poets portray their different feelings of love to a person.
             Bradstreet uses imagery when she is describing that her "love is such that Rivers cannot quench", meaning her love is so strong that not even the rivers can satisfy her thirst. In other words nothing but her husbands love can satisfy her. Amichai also uses imagery when the word "amputated is used". The word amputate was used to suggest to the reader, a feeling of separation. Amputate can also mean that the poets loss is never coming back (since when one is amputated the limb is no longer coming back). This thought gives the reader a feeling of anguish for the loss. Another word Amichai uses is "dismantled", again implying the feeling that their relationship was separated or taken apart. .
             Bradstreet uses hyperbole to exaggerate that she prizes her love for her husband more that all the "mines of gold or all the riches that the East doth hold." Here she uses imagery of physical wealth to represent their emotional love. Her love for her husband is more important than anything. She is expressing a love that is not materialistic and is fully unconditional. Amachai uses parallelism, "They were surgeons/engineers", to describe the people that tore apart there relationship. He uses surgeons in relation to amputation, since surgeons are the ones that perform this surgery. The word dismantled is in also in relation to engineers. Both engineers and surgeons are descriptions of people that got in the way of their relationship. Amichai also uses diction to describe that her love is no longer there. She uses the past tenses "were" to explain that they were together but are not they aren't anymore.


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